Joseph Christian Leyendecker is a name that few recognize today, and yet he was arguably the nation’s most popular commercial artist during the first forty years of the twentieth century.One of his greatest admirers was none other than Norman Rockwell, which many think of as America’s favorite Illustrator.Unlike Rockwell, Leyendecker is relatively unknown to today’s public, so you could refer to him as America’s “other” illustrator. Born in Germany, Leyendecker and his family came to Chicago in 1882.He was apprenticed at the ae of 16 to the engraving house of J. Manz & Company.He advanced to a full time staff artist and furthered his artistic training at the Chicago Art Institute. During this time Leyendecker produced his first commercial work, including 60 images for an illustrated edition of The Bible published by Manz. In 1896 he and his brother Frank left for Paris where they were both enrolled at the Academie Julian under the training of Adolphe Bougereau, Jean-Paul Laurens, and Benjamin Constant.It was at there that the brothers were immersed in neo-classical training; also they became familiar with the popular advertising posters by artist such as Jules Cheret. Leyendecker helped define the modern magazine cover as a unique art form, a mini-poster whose design rapidly communicated its message.His covers were animated by people and themes that resonated with his audience because of his ability to capture and convey a range of human emotions and situations in his unique style of wide, crisp, and controlled brushstrokes accented by bold highlights. The Leyendecker brother moved to New York City in 1900 and it was there that J.C. secured the mens wear commissions that gained him his greatest fame.He stylishly dressed and handsome men whom he created for Arrow Collars and Shirts from 1905 through 1930 established the ideal image of the savvy American male.Soon the good looks of Leyendecker’s men were also helping to sell suits for the House of Kuppenheimer, socks for the Interwoven Stocking Company, and “long johns” for the Cooper Underwear Company – the precursor the Jockey International, Inc. Men’s fashion was probably the most significant aspect of Leyendecker’s advertising portfolio, but his artwork was also used to promote a host of other products, including soap, automobiles, and cigarettes.And starting in 1912, he captured the hearts of American mothers through his series of cherubic infants, winsome children, and adolescents enjoying bowls of Kellogg’s Corn Flakes. The success the Leyendecker brothers achieved landed them in a suburb in New York called New Rochelle.It was a community that a number of artists had come to call home, including Norman Rockwell.The Leyendecker’s built themselves a 14-room mansion with separate studios and a magnificent garden. When the United States entered World War I in 1917, Leyendecker joined his fellow illustrators in creating posters in support of the nation’s war effort.Their dramatic images were used to promote the purchase of war bonds and urged young men to enlist and the general public to conserve resources needed by the military. By the end of the 1930s, the demand for Leyendecker’s imagery had wane, shortly after America entered World War II, he did his last cover of the Saturday Evening Post, which he had done over 90 covers.A few war bond poster work, calendar commissions, and covers for William Randolph Hearst’s The American Weekly kept him busy. On July 25, 1951, Joseph Christian Leyendecker suffered a heart attack and died at his home.Many of his original works left at his home were auctioned off.Among the pallbearers at Leyendecker’s funeral was Norman Rockwell, who by this time had become the Saturday Evening Post’s premier cover artist and was well on his way to become America’s favorite Illustrator.J.C. Leyendecker, once the nation’s most successful commercial artist, was buried at Woodlawn Cemetery in an unmarked grave.
Back to my Home Page
J.C. Leyendecker
Joseph Christian Leyendecker is a name that few recognize today, and yet he was arguably the nation’s most popular commercial artist during the first forty years of the twentieth century. One of his greatest admirers was none other than Norman Rockwell, which many think of as America’s favorite Illustrator. Unlike Rockwell, Leyendecker is relatively unknown to today’s public, so you could refer to him as America’s “other” illustrator.
Born in Germany, Leyendecker and his family came to Chicago in 1882. He was apprenticed at the ae of 16 to the engraving house of J. Manz & Company. He advanced to a full time staff artist and furthered his artistic training at the Chicago Art Institute. During this time Leyendecker produced his first commercial work, including 60 images for an illustrated edition of The Bible published by Manz.
In 1896 he and his brother Frank left for Paris where they were both enrolled at the Academie Julian under the training of Adolphe Bougereau, Jean-Paul Laurens, and Benjamin Constant. It was at there that the brothers were immersed in neo-classical training; also they became familiar with the popular advertising posters by artist such as Jules Cheret.
Leyendecker helped define the modern magazine cover as a unique art form, a mini-poster whose design rapidly communicated its message. His covers were animated by people and themes that resonated with his audience because of his ability to capture and convey a range of human emotions and situations in his unique style of wide, crisp, and controlled brushstrokes accented by bold highlights.
The Leyendecker brother moved to New York City in 1900 and it was there that J.C. secured the mens wear commissions that gained him his greatest fame. He stylishly dressed and handsome men whom he created for Arrow Collars and Shirts from 1905 through 1930 established the ideal image of the savvy American male. Soon the good looks of Leyendecker’s men were also helping to sell suits for the House of Kuppenheimer, socks for the Interwoven Stocking Company, and “long johns” for the Cooper Underwear Company – the precursor the Jockey International, Inc.
Men’s fashion was probably the most significant aspect of Leyendecker’s advertising portfolio, but his artwork was also used to promote a host of other products, including soap, automobiles, and cigarettes. And starting in 1912, he captured the hearts of American mothers through his series of cherubic infants, winsome children, and adolescents enjoying bowls of Kellogg’s Corn Flakes.
The success the Leyendecker brothers achieved landed them in a suburb in New York called New Rochelle. It was a community that a number of artists had come to call home, including Norman Rockwell. The Leyendecker’s built themselves a 14-room mansion with separate studios and a magnificent garden.
When the United States entered World War I in 1917, Leyendecker joined his fellow illustrators in creating posters in support of the nation’s war effort. Their dramatic images were used to promote the purchase of war bonds and urged young men to enlist and the general public to conserve resources needed by the military.
By the end of the 1930s, the demand for Leyendecker’s imagery had wane, shortly after America entered World War II, he did his last cover of the Saturday Evening Post, which he had done over 90 covers. A few war bond poster work, calendar commissions, and covers for William Randolph Hearst’s The American Weekly kept him busy.
On July 25, 1951, Joseph Christian Leyendecker suffered a heart attack and died at his home. Many of his original works left at his home were auctioned off. Among the pallbearers at Leyendecker’s funeral was Norman Rockwell, who by this time had become the Saturday Evening Post’s premier cover artist and was well on his way to become America’s favorite Illustrator. J.C. Leyendecker, once the nation’s most successful commercial artist, was buried at Woodlawn Cemetery in an unmarked grave.
Paintings by Leyendecker